【正文】 e left, hovers a second pipe, larger (or closer) than the painted canvas and its frame. What we have here is a painting of a paradox. Obviously the smaller pipe is a painting and not a pipe. But what is the second pipe, the one that looms outside the represented canvas? And if that too is but a painting, then where does the painting end? 13. In lines 716 (Did ... knew), the author implies that college teachers portray Magritte39。s intentions in a way that (A) values emotionalism over rational argument (B) emphasizes creativity and execution of form (C) is more scientific than artistic (D) is judgmental and dismissive (E) is simplistic and debatable 分析； M的畫幅是想提醒人們一個已經(jīng)知道的事情。 14. The author describes Magritte39。s activities before he painted the pipe (lines 1115) most likely in order to 目的題 (A) contrast these activities with Magritte39。s technique in other paintings (B) defend Magritte39。s work against claims that his paintings are too abstract (C) suggest that Magritte wanted to demonstrate something more than the obvious (D) illustrate the universal appeal of Magritte39。s work (E) emphasize the carefree nature of Magritte39。s artistry 分析：定位句之間， M表示這幅畫是想告訴人們一個表面看起來的事情并非如此。 It seems to me that the roots of the paradox reside in the concept of the frame. When we look at a realistic painting— a portrait of a historical figure— we accept by convention that the portrait represents a real person and actual objects. When that convention is denied, as in Magritte’s pipe paintings, the point is not to remind us that paintings are not real. That much is true but trivial. The point is to challenge the belief that everything outside the frame is real. 15. The paradox mentioned in lines 21 and 26 refers to 指代題 (A) an abstract painter39。s convincing depiction of a scientific phenomenon (B) an artist39。s use of photography to challenge the concept of reality (C) Magritte39。s use of science to convey artistic creativity (D) Magritte39。s careful representation of an obscure object (E) Magritte39。s simultaneous portrayal of a real and a created world within a painting 分析：定位句字面意思可選擇 E. 16. The sentence That much is true but trivial (line 32) specifically refers to which idea? 指代題 (A) Many modern paintings deny convention. (B) Paintings are open to multiple interpretations. (C) Realistic paintings portray actual objects. (D) A painting of an object is not the object itself. (E) An artist cannot possibly represent an object exactly. 分析：定位句后文表達 The point is to challenge the belief that everything outside the frame is ，在理念框架以外的理念也會是真實的。 The enemy of artists like Magritte is naive realism— the dogged assumption that the human sensory apparatus accurately records the one and only real world, of which the human brain can make but one accurate model. The truth, of course, is that nobody can grasp reality whole, that each person39。s universe is to some extent unique, and that this circumstance makes it impossible for us to prove that there is but one true reality. If modern artists have labored to call attention to the fact that our understanding of reality is limited and variegated, so too have modern scientists. Many people are surprised to hear this. They think of science as a collection of hard facts mined from bedrock reality, through a process as uncreative as coin collecting. The scientists, however, have e to know better. Astronomers understand that each act of observation— photographing a galaxy, taking an ultraviolet spectrum of an exploding star— extracts but a small piece of the whole, and that a montage of many such images is still only a representation, a painting if you will. The quantum physicists go further: they appreciate that the answers they obtain through experiment depend significantly on the questions they ask, so that an electron, asked if it is a particle or a wave, will answer Yes to both questions. Neuroscientists have learned that the brain is no monolith, either. Each of us harbors many intelligences, and insofar as my various minds take varying views of reality— in terms, say, of spatial relationships versus language, or of sentimental versus rational education— I can no more legitimately impose a single model on myself than I can expect to impose it on others. 17. What many people consider hard facts (lines 4647) would most likely be viewed by the author as 變相態(tài)度題 (A) necessary (B) solid (C) disturbing (D) tentative： not certain or fixed。 provisional (E) difficult 分析；原文的 “many people” 是認(rèn)為有些真理為真理，但是作者的理念是，在人們思維概念以外的東西也有是真的，所以作者會對這里的 “many people ” 認(rèn)知的 “ hard facts” 持有的審視的角度。 18. The author mentions coin collecting (line 48) as an activity that (A) is straightforward and relatively unambiguous (B) was once ridiculed for its irrelevance to life (C) entails a high level of attention to detail (D) can provide gratification to those who engage in it (E) exemplifies the spirit of both scientists and artists 分析：聯(lián)系上一題，這里的行為是一個直截了當(dāng)，并且目睹明確的。 19. The montage (line 52) is characterized as (A) more prehensive than a single image but less realistic (B) more nearly plete than a single image but still inadequate (C) less realistic than a painting but more accessible (D) less accurate than a single image and more difficult to obtain (E) less prehensible than a painting and more difficult to achieve 分析： “montage” 這里舉例實質(zhì)支持本段核心觀點。 20. In line 54. appreciate most nearly means 詞匯題 (A) enjoy (B) recognize (C) grateful (D) greatly admire (E) rapidly value 21. The answer to both questions (lines 5758) is significant because it indicates that (A) scientists have historically been trained to ask questions that have multiple right answers (B) the nature of electrons is no longer in question (C) scientific conclusions are shaped by the queries posed in experiments (D) scientists, like artis